First Performances
Identifieur interne : 000751 ( Istex/Corpus ); précédent : 000750; suivant : 000752First Performances
Auteurs :Source :
- Tempo [ 0040-2982 ] ; 1997-04.
Abstract
‘Die Soldaten’ in London Ian PaceCarter's new concerto David MurrayDonaueschingen 1996 John WarnabyClapperton at Oxford Ken GloagHuddersfield Festival John Warnaby, David PowerMichael Finnissy piano music James ErberRecent Sciarrino performances Ian Pace
Url:
DOI: 10.1017/S0040298200048452
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ISTEX:5F9C9E483E11CFBF3ADDC48141A851E2767683F8Le document en format XML
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1996 John WarnabyClapperton at Oxford Ken GloagHuddersfield Festival John Warnaby, David PowerMichael Finnissy piano music James ErberRecent Sciarrino performances Ian Pace</p></abstract></profileDesc><revisionDesc><change when="1997-04">Published</change></revisionDesc></teiHeader></istex:fulltextTEI></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="US-ASCII"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="review-article" dtd-version="2.2" xml:lang="en"><front><journal-meta><journal-id journal-id-type="publisher-id">TEM</journal-id><journal-title>Tempo</journal-title><abbrev-journal-title>Tempo</abbrev-journal-title><issn pub-type="ppub">0040-2982</issn><issn pub-type="epub">1478-2286</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0040298200048452</article-id><article-id pub-id-type="pii">S0040298200048452</article-id><article-id pub-id-type="publisher-id">04845</article-id><title-group><article-title>First Performances</article-title><alt-title alt-title-type="left-running">First Performances</alt-title><alt-title alt-title-type="right-running">First Performances</alt-title></title-group><pub-date pub-type="ppub"><month>04</month><year>1997</year></pub-date><issue>200</issue><fpage seq="12">41</fpage><lpage>52</lpage><permissions><copyright-statement>Copyright © Cambridge University Press 1997</copyright-statement><copyright-year>1997</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><abstract abstract-type="text-abstract"><p><list list-type="simple"><list-item><p>‘Die Soldaten’ in London <italic>Ian Pace</italic></p></list-item><list-item><p>Carter's new concerto <italic>David Murray</italic></p></list-item><list-item><p>Donaueschingen 1996 <italic>John Warnaby</italic></p></list-item><list-item><p>Clapperton at Oxford <italic>Ken Gloag</italic></p></list-item><list-item><p>Huddersfield Festival <italic>John Warnaby, David Power</italic></p></list-item><list-item><p>Michael Finnissy piano music <italic>James Erber</italic></p></list-item><list-item><p>Recent Sciarrino performances <italic>Ian Pace</italic></p></list-item></list></p></abstract><counts><page-count count="12"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0040298200048452a.pdf</meta-value></custom-meta><custom-meta><meta-name>dispart</meta-name><meta-value>First Performances</meta-value></custom-meta><custom-meta><meta-name>series</meta-name><meta-value>1</meta-value></custom-meta><custom-meta><meta-name>seriesText</meta-name><meta-value>New Series</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><fn id="fn01" symbol="Page 46 note 1"><label><sup>Page 46 note 1</sup></label><p>Programme book, 1996 Huddersfield Contemporary Music Festival, p.89.</p></fn><fn id="fn02" symbol="Page 49 note 1"><label><sup>Page 49 note 1</sup></label><p>For more on this point, see my review of Emmanuel Nunes’ <citation citation-type="other" id="ref001"><italic>Quodlibet</italic> in <italic>Tempo 198</italic>, p. <fpage>63</fpage>.</citation></p></fn><fn id="fn03" symbol="Page 49 note 2"><label><sup>Page 49 note 2</sup></label><p>Gavin Thomas's article on Sciarrino's work (<citation citation-type="other" id="ref002">‘The poetics of extremity’, <italic>Musical Times</italic> Number 1802 (<month>04</month> <year>1993</year></citation>)), in an absurd comparison with the composer ‘he most obviously resembles’ - Helmut Lachenmann - celebrates Sciarrino's work as ‘an art of submerged nostalgia. He retains, however great the irony or distancing, an essential affection for what has passed’ though this is ‘too clear-sighted to be entirely comfortable’. There seems to be a sub-text at work here: Sciarrino's work is acceptable because the element of critique is sufficiently muted as to be unthreatening. This is born out by Thomas's earlier comment that ‘Sciarrino's work lacks Lachenmann's socio-political subtext, its black humour, its visceral impact and destructive commentary on past models’. This seems to trivialize Sciarrino's very real intentions in all these directions, which are of course viewed as dangerous by the dominant aesthetic ideology in Britain today; yet the comment would seem to be undermined by the later remark that ‘Sciarrino, like Lachenmann, stresses the elements of cruelty and irony, the dangerous dance at the limits of perception and performance in diis music rather than the incidental seductiveness of its soundworld.’ i.e. the above-mentioned qualities are acceptable when they can be ensconsed in high-flown artistic terms, rather than nasty politics (heaven forbid!). Quite apart from this, the Lachenmann comparison has about as much validity as the frequent banding together of Ferneyhough and Finnissy, and reflects the extent to which ‘sound-bite’ criticism, a clear product of the consumerist age, where surface style rules, has become prevalent in Britain today. If Sciarrino resembles Lachenmann because he uses extended instrumental techniques, then why does he not equally resemble Hespos, Holliger, Globokar, Klaus Huber, early Kagel, or the Ferneyhough of the <italic>Time and Motion Studies</italic> and <italic>Unity Capsule</italic>? Or Chris Dench because he has also written numerous works for solo flute?</p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>First Performances</title></titleInfo><titleInfo type="alternative"><title>First Performances</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>First Performances</title></titleInfo><typeOfResource>text</typeOfResource><genre type="review-article" displayLabel="review-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-L5L7X3NF-P">review-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">1997-04</dateIssued><copyrightDate encoding="w3cdtf">1997</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract" lang="en">‘Die Soldaten’ in London Ian PaceCarter's new concerto David MurrayDonaueschingen 1996 John WarnabyClapperton at Oxford Ken GloagHuddersfield Festival John Warnaby, David PowerMichael Finnissy piano music James ErberRecent Sciarrino performances Ian Pace</abstract><relatedItem type="host"><titleInfo><title>Tempo</title></titleInfo><titleInfo type="abbreviated"><title>Tempo</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0040-2982</identifier><identifier type="eISSN">1478-2286</identifier><identifier type="PublisherID">TEM</identifier><part><date>1997</date><detail type="issue"><caption>no.</caption><number>200</number></detail><extent unit="pages"><start>41</start><end>52</end><total>12</total></extent></part></relatedItem><identifier type="istex">5F9C9E483E11CFBF3ADDC48141A851E2767683F8</identifier><identifier type="ark">ark:/67375/6GQ-NNFXKHC5-7</identifier><identifier type="DOI">10.1017/S0040298200048452</identifier><identifier type="PII">S0040298200048452</identifier><identifier type="ArticleID">04845</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © Cambridge University Press 1997</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource><recordOrigin>Copyright © Cambridge University Press 1997</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/5F9C9E483E11CFBF3ADDC48141A851E2767683F8/metadata/json</uri></json:item></metadata><author></author><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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